The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. ​The centrepiece of the CIA campaign became the Congress for Cultural Freedom, a vast jamboree of intellectuals, writers, historians, poets, and artists which was set up with CIA funds in 1950 and run by a CIA agent.

The new American art was secretly promoted under a policy known as the "long leash" - arrangements similar in some ways to the indirect CIA backing of the journal Encounter. It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions. It would be the official sponsor of touring exhibitions; its magazines would provide useful platforms for critics favourable to the new American painting.

"It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret." It's a problem that civilisation has faced ever since the first artist and the first millionaire or pope who supported him. And yet if it hadn't been for the multi-millionaires or the popes, we wouldn't have had the art." 'Hidden Hands' on BBC Channel 4.

CLASSICAL REALISM- Neoclassical + (Hyper) Realism. Neorealism = a style where the artist maintains that reality is stranger than fiction. The everyday things are an inspiration. "Backseat of a Dodge 38" (1964), Edward KienholzNEO POPASSEMBLAGE / CONCEPTUALISM ART / INSTALLATIONS- three-dimensional artistic composition. the idea is that the 'concept' was Art and not the objects. they are designed to immerse the viewer in an artificial environment to ultimately appeal to his subjective perception. Many installations are site-specific in that they are designed to exist only in the space for which they were created.The genre incorporates a very broad range of everyday and natural materials, which are often chosen for their evocative qualities, as well as new media such as video, sound, performance, sculpture, immersive virtual reality and the internet. The media used are more experimental and bold; they are also usually cross media and may involve sensors, which plays on the reaction to the audiences movement when looking at the installations.STUCKISTS- they strictly focus on Painting and are against Conceptual Art. The frequency of narrative nudes (including homoerotic imagery) in Stuckism suggests Stuckist artists also have an interest in representing sexuality and homosexuality.

Material Revolution: Plastic & Concrete

"Wonderbra" and its promise of the perfect lift.

The first plastic polymer, celluloid, a combination of cellulose nitrate and camphor, was developed in 1869. It was based on the natural polymer cellulose, which is present in plants. Celluloid was used to make many items including photographic film, combs, and men's shirt collars. In 1909, Leo Baekeland developed the first commercially successful synthetic plastic polymer when he patented phenol formalde-hyde resin, which he named Bakelite.

ny-Brutalism: The term does not derive from the word "brutal," but originates from the French béton brut, or "raw concrete," a term used by Le Corbusier to describe his choice of material. British architectural critic Reyner Banham adapted the term into "brutalism" (originally "New Brutalism") to identify the emerging style.

Brutalism became favoured for many government projects, high-rise housing, and shopping centres to create an architectural image that communicated strength, functionality, and frank expression of materiality, with numerous examples in Britain, France, Germany, Japan, the United States, Canada, Brazil, the Philippines, and Australia. Examples are typically massive in character (even when not large), fortress-like, with a predominance of exposed concrete construction, or in the case of the "brick brutalists," ruggedly combine detailed brickwork and concrete. Brutalism can be seen as a reaction by a younger generation to the lightness, optimism, and frivolity of some 1930s and 1940s architecture.

The best known early Brutalist architecture is the work of the Swiss architect Le Corbusier, in particular his 1952 Unité d'Habitation and the 1953 Secretariat Building (Palace of Assembly) in Chandigarh, India.

The Compact Cassette went on to become a popular (and re-recordable) alternative to the 12 inch vinyl LP during the late 1970s. Apart from the purely technological advances cassettes brought, they also served as catalysts for social change. Because of consumer demand, the cassette has remained influential on design, more than a decade after its decline as a media mainstay.

Their durability and ease of copying helped bring underground rock and punk music behind the Iron Curtain, creating a foothold for Western culture among the younger generations. The culture was in part an offshoot of the mail art movement of the 1970s and 1980s. In both the United States and United Kingdom, it emerged from the DIY ethic of punk. In the UK cassette culture was at its peak in what is known as the post-punk period, 1978–1984; in the US, activity extended through the late '80s and into the '90s.

One of the most famous political uses of cassette tapes was the dissemination of sermons by the Ayatollah Khomeini throughout Iran before the 1979 Iranian Revolution, in which Khomeini urged the overthrow of the regime of the Shah, Mohammad Reza Pahlavi. In 1970s India, they were blamed for bringing unwanted secular influences into traditionally religious areas. Cassette technology was a booming market for pop music in India, drawing criticism from conservatives while at the same time creating a huge market for legitimate recording companies as well as pirated tapes.

During the 1980s, the cassette's popularity grew further as a result of portable pocket recorders and high-fidelity ("hi-fi") players, such as Sony's Walkman.

AEG released the first reel-to-reel tape recorder (German: Tonbandgerät), with the commercial name "Magnetophon", based on the invention of the magnetic tape (1928) by Fritz Pfleumer, which used similar technology but with open reels; for which the tape was manufactured by BASF. These instruments were still very expensive and relatively difficult to use and were therefore used mostly by professionals in radio stations and recording studios.

In 1958, following four years of development, RCA Victor introduced the stereo, quarter-inch, reversible, reel-to-reel RCA tape cartridge. The Philips Company of the Netherlands invented and released the first compact audio-cassette in 1962. They used high-quality polyester 1/8-inch tape produced by BASF. Philips approached Sony Corporation in Japan after realizing that Japanese acceptance of the new format would vastly improve the chances of success. So although there were other magnetic tape cartridge systems, the Compact Cassette became dominant as a result of Philips' decision in the face of pressure from Sony to license the format free of charge. The consumer's demand for blank tape used for personal music-recording was unanticipated by Philips.

The first pocket sized mobile television was sold to the public by Clive Sinclair in January 1977 and was released in 1978.. It was called the Microvision or the MTV-1.

The MTV-1 used a minuscule 2" CRT; making it the smallest CRT built onto a commercially marketed product.

There were two versions, the MTV-1A could receive PAL or NTSC transmissions on VHF or UHF, while the MTV-1B would only work with British and South African UHF PAL signals.

The project took over ten years to develop and was funded by around £1.6 million in British Government grants.

Miniaturization

Plastic is a convenient material with which to make small objects for art, craft and household uses. It can be moulded with silicone and many other materials, which makes it quite a flexible medium. The only difference between clear plastic and any other sort is the colouring agent.

Joe Cesare Colombo was an Italian abstract expressionist painter and sculptor. He saw himself as a "creator of the environment of the future." He designed products for Oluce, Kartell, Bieffe, Alessi, Flexform and Boffi.

In 1959, Colombo had to take over the family company, which produced electric appliances, and started to experiment with new construction and production technologies. In 1962 Colombo opened his own interior design and architecture projects, mostly for lodges and skiing. He used his family’s factory to conduct experiments in cutting-edge plastics such as fibreglass, ABS, PVC, and polyethylene, with the goal of creating furniture for mass production.

The GRID laptop computers (GRID Compass 1101) were originally used by the U.S. army and the NASA on space shuttles (Discovery 1985.). With a magnesium-alloy case that weighed in at more than 10 pounds, the GRiD Compass was a behemoth by today’s standards. But Bill Moggridge’s fold-up workhorse introduced the clamshell form factor to PCs. Prior to the Compass, portable PCs had flip-down keyboards and beefy cases that housed all the components behind the screen. Moggridge’s groundbreaking design kept the computer’s internals on the base level and placed the 6-inch display on a center-mounted hinge, thus protecting the screen when closed and allowing it to be adjusted when the computer was in use. Though laptops have gotten lighter and prettier, their design has remained largely the same.

A British patent was granted in 1861 for the first internal mirror SLR photographic camera, but the first production photographic SLR did not appear until 1884 in America. These first SLRs were large format cameras.

The first SLR in the 35mm format was the Soviet Union's "Sport" (Спорт). Prototyped in 1934, it was a very smart design, but it did not enter the market until 1937.

The SLR may be elegantly simple in concept, but it turned out to be fiendishly complex in practice. The SLR's shortcomings were solved one by one as optical and mechanical technology advanced and in the 1960s the SLR camera became the preferred design for many high-end camera formats.

In the 1970s, the addition of electronics established an important place in the mass market for the SLR. Since then, SLRs have become the main photographic instrument used by dedicated amateur photographers and professionals, up until 1990s.

The Mini is a small car that was made by the British Motor Corporation (BMC) considered a British icon of the 1960s. This distinctive two-door car was designed for BMC by Sir Alec Issigonis.

The Mini came about because of a fuel shortage caused by the 1956 Suez Crisis. Its space-saving front-wheel-drive layout (which allowed 80% of the area of the car's floorpan to be used for passengers and luggage) influenced a generation of car-makers.

The vehicle is in some ways considered the British equivalent to its German contemporary, the Volkswagen Beetle, which enjoyed similar popularity in North America. In 1999 the Mini was voted the second most influential car of the 20th century, behind the Ford Model T.

British Vauxhall Chevette 1975

Responding to the challenge of the Peugeot 104 (1972), the Chevette was the first British-built hatchback of this size, with Ford not responding with a similar product until the following year, with the arrival of Ford's Fiesta at the end of 1976. Chrysler UK did not launch its Chrysler Sunbeam for two years, while it was five years before British Leyland came up with the Austin Metro.

Chrysler Sunbeam, a small super-mini. 1977

Poor labour relations, continued strikes, and the invasion of the Japanese had all taken their toll on the American domestic producers. In the end, it was announced that there would be a "joint declaration of faith" from the government and Chrysler's American parent company over the future of the UK operation. It received a state grant, with which it could fund the development of a new small car, to be engineered at Ryton, styled at Whitley, and built at Linwood.

one thing was clear: the R424 would be the final Rootes car, designed and engineered exclusively in the UK. With the details settled, development of the R424 commenced at a lightning pace: given the technical simplicity of the package and the fact that R424 comprised of almost entirely tried and tested components, there was little to slow down the design process. In fact, all of the development resources at Whitley were focused behind the new car, and everyone there was extremely keen to make the new car a success. Many, many components were lifted straight from the Avenger.

"The painter makes real to others his innermost feelings about what he cares for. A secret becomes known to everyone who views the picture through the intensity with which it is felt. The longer you look at an object, the more abstract it becomes, and, ironically, the more real."

Lucian Freud's works are noted for their psychological penetration, and for their often discomfiting examination of the relationship between artist and model.

Portraits and nudes are his specialities, often observed in arresting close-up. His early work was meticulously painted, so he has sometimes been described as a “Realist”. He has a talent for capturing quiet emotion and really gorgeous flesh.

The Tree Man/The Green Man is a malevolent spirit more like "Harry Lime" in the Third Man. There is a great deal to do with the history of art even using for example Monet's background figures and bringing them to the front changing the roles so art itself becomes the drama. There is also a sense of playfulness in styles and techniques.

Steven Campbell's style of painting is figurative, with a hard linear quality to the application of paint. The colour palette is strong, with rich colours tending to be dominated by a blue-green light.

Campbell described Forsyth as 'a dark mysterious creature' although his movies are decidedly funny. The motorway flyover is a reference to Glasgow's Kingston Bridge which Forsyth often uses in his films.

The Scottish painter, Peter Howson’s paintings embrace the world in a loving and yet vice-like grip that is as bold as it is sometime Satanic. It is a rare and special talent that seems to dredge up the mulch and muck to create with it a kind of visual record of our time – a mythic route whereby we somehow recognise our world shockingly revealed while at the same time he is describing his own. The two seem to meet and meld.

What is probably the most remarkable aspect of Howson’s work is its sheer variety, its bizarre diversity. So Howson is a compelling storyteller and he seems to wish to tell us the bizarre tales that stir inside his ever fervent mind.

The artist who came to religious art after battling drug and alcohol problems has sold works to a number of high profile collectors and celebrities, including David Bowie, Mick Jagger and Madonna.

It is a lover’s fierce embrace where passion can sometimes be seen by the outsider as a form of rape. Many of Peter Howson works in fact deal with these physically brutish inter-twining, such as his Bosnian war paintings where the rape of women are like terrible collisions of flesh. He manages, as do all singular artists, to shape or to define the world according to his own vision which is, of course, apocalyptic.

Howson’s paintings embrace the world in a loving and yet vice-like grip that is as bold as it is sometime Satanic. It is a rare and special talent that seems to dredge up the mulch and muck to create with it a kind of visual record of our time – a mythic route whereby we somehow recognise our world shockingly revealed while at the same time he is describing his own. The two seem to meet and meld.

What is probably the most remarkable aspect of Howson’s work is its sheer variety, its bizarre diversity. So Howson is a compelling storyteller and he seems to wish to tell us the bizarre tales that stir inside his ever fervent mind.

The artist who came to religious art after battling drug and alcohol problems has sold works to a number of high profile collectors and celebrities, including David Bowie, Mick Jagger and Madonna.

The Scottish painter, Paula Rego's work always has a sense of magical realism; quirky contemporary mythologies pointing to an underlying psychology and sexuality, through a feminine view point.

Paula Rego uses loaded imagery and symbolism to create a surreal mystery for the unravelling. Unsettling tableaux of cruelty and sexual transgression permeate Paula Rego’s art. Art, she says, is 'disgusting and to be avoided'. What she is really interested in, she says, is 'the beautiful grotesque'.

In much of his work, he has drawn inspiration from the coastal communities from which he came, Port Seton in Scotland. Bellany was surrounded by the images of his family's trades of fishermen and boat builders . His paintings feature harbours and people that make a living from working the seas. Woman of the North Sea develops Bellany's interest in the sea and seafaring, which often moves into images of sexuality.

Two Girls and a Dog (Girl and Dog series)

In her Girl and Dog paintings Paula veils meaning in caricacture; but now 'the masks", as she describes them, begin to fall away, the animals are substitutes for naturalistic representations of people.

In these paintings there is a sense of firm tenderness on the part of the girls and of alternating compliance and stubborness on the part of the dog.

Although the cast changes the theme is very consistant in this series. The dog is petted, spoon fed, helped to drink and in one case very trustingly allows it's throat to be shaved. That action gives the clue if any is needed that this is not any invalid but a man in the guise of a dog.

Invalids test the love of those responisble for them to the limit. In Girl Lifting Up Her Skirt to a Dog, Paula shows the frustration and anger that lies within relationships based on any kind of dependency.

Another particularly disturbing picture is Looking Back. There is no dog in this picture just two women and one young girl, one girl on the bed is covered with a fur blanket. Paula explains that they have killed the dog.

The Maids (Acrylic on canvas) in 1987

The story at the heart of the painting came to Paula Rego ready-made in the form of Jean Genet’s play The Maids (1947), itself based on the real-life case of the Papin sisters, Christine and Lea, who worked as maids for a rich Parisian family. One day, frightened for no apparent reason other than that of a power cut which inconvenienced and possibly frightened the sisters, they brutally murdered the mother and daughter of the family while the man of the house was out at work. In working with the story, Paula Rego seems to have focused on the unnatural closeness of the sisters, both to each other and the mother and daughter they murder. Ambiguity and menacing psychosis reverberate within the picture, much of it carried in the objects with which the room is claustrophobically furnished. And isn't there something uncertain about the sexuality of the seated figure?

Dog Woman by Paula Rego

The power of the images for me comes in the juxtaposition of the domestic with the wild, an animal bride in her private moments celebrating her dual nature. Rego says of these dog women: "In these pictures every woman's a dog woman, not downtrodden, but powerful. To be bestial is good. It's physical. Eating, snarling, all activities to do with sensation are positive. To picture a woman as a dog is utterly believable.

Oratorio by Paula Rego

This is a three-dimensional piece developed after a request by the Foundling Museum in London, the first institution to house abandoned children in the city. All meticulously drawn on paper using Conté pencil.

It seems like a piece of furniture almost three metres tall, and combines drawings and sculptures, similar to old Portuguese oratories.

The sculptures represent children dressed in the Foundling Hospital uniform, placed against a background made up of two drawings.

Just as in the old oratories, this is made up by a pair of doors with two drawings. This work appears to show a new direction in Paula Rego's work, interacting between drawing and sculpture.

Paula Rego returns to the theme of the vulnerability of the youngest in these drawings and sculptures, showing their loneliness and abandonment. The children's painful situation is evoked by the way in which the artist organises the figures in the Oratório, as if it were an altar.

Jogen Chowdhury is known for his ability to successfully marry traditional imagery with the zeitgeist of contemporary painting, in a skillful blend of an urbane self-awareness and a highly localized Bengali influence. Like many other Bengalis of his generation Chaudhuri shows a deep fascination for the art-traditions that are now almost lost due to the politico-economic changes that are sweeping across West Bengal. His early works show an attention to figuration that carries through in his current pieces. Due to his long association with the handloom houses and because of his fascination for design concepts in alpana works that he had learnt from his mother, Chowdhury’s works show unbroken lines. His art of unbroken line as is practiced by women in alpana works consists of using rice flour on the floor to make designs is the hallmark of Choudhari’s paintings. His figures are often distorted, abstracted and in colour-works he uses flat colours with contrasting hues.

The Italian architect and designer, Ettore Sottsass's body of designs included furniture, jewellery, glass, lighting and office machine design. Although Memphis looked like a radical departure at the time, but it reflected Mr. Sottsass’ continuing preoccupation with the symbolic and decorative qualities of objects, visible in his earliest designs for textiles and ceramics.

Oro and bosco

Curved beechwood armrest chair

“PORTALI” is a collection made of 18 really creative vases that interacts with the organic flowers within.

One of the 11 pieces titled Louis XXI, Porcelaine humaine by the Italian architect and designer, Andrea Branzi.

A set of eleven pieces revealing forms that are light and undulating, organic and sensual, in body-tinted soft porcelain. A creation that faithfully reproduces his reflections on nature and hybridization.

Kartell's FLY Ceiling Lamp

The Italian Ferruccio Laviani designed the FL/Y Icon lamp for Kartell. It is an essential lamp which is characterized by the "subtle interpretations of the theme". Made in transparent methacrylate in all the colours of the rainbow. The transparency of the material and the sheen of the colours bring to mind a soap bubble, iridescent with reflections of light.

Ferruccio Laviani first came into his own as a designer during the influential radical/anti-design period of the 1980s. He contributed to the famous Memphis collection, helped found the Solid Group and worked alongside other famous contemporary designers

Memphis Design, (Milan, Italy) was founded in 1981 by architect Ettore Sottsass and a group of young Milanese architects and designers that designed Post Modern furniture, fabrics, ceramics, glass and metal objects from 1981-1987. It represented the most coherent attempt to apply post modernism to design and created an alternative to the aesthetic of functionalism by exploring the emotional potential of design.

Memphis split the design world and caused a media sensation after years of drab rationalism. Memphis Milano became the radical design movement that achieved iconic status.

De Lucchi’s designs project sensitivity to function and an appreciation for crafts and simplicity. His wooden furniture is handmade, signed and dated. His hanging lamps, such as the Acquatinta lamp, project the simple beauty of hand blown glass. Often incorporating simple light bulbs as the light source, he will instead enhance the metal design of the base and stem. Well known the US for the Tolomeo lamp in metal, his exceptional lamps portray a highly- desired casual, low key and versatile quality.

The gorgeous Noto suspension light by Artemide was designed by Michele De Lucchi. This beautiful fixture resembles the dragon, a symbol of eternity and power in the Chinese tradition, is transformed from paper into glass and light.

Six moveable cylinders form a luminaire with great impact and a strong personality. Diffusers are of white opal handblown glass and the structure is made of steel.

Achieved through a system of spring balancing, the Tolomeo lamp designed and created by Italian designer duo Michele De Lucchi and Giancarlo Fassina for the historic brand leader in lighting design Artemis.

It is a product designed in 1987, awarded the prestigious Golden Compass award in 1989 and now with the passing years, a true symbol of modern design thanks to its simple lines and basic but clean and attractive style.

The lamp Ptolemy, Designed by Michele De Lucchi and Giancarlo Fassina for ArtemisIs characterized by a cantilevered arms in polished aluminum and a convenient rotating reflector in all directions while matte anodized aluminum joints and supports are polished aluminum.

'sfera' lamp collection by Italian designer Michele de Lucchi for French crystal manufacturer baccarat transcends the elegant material at its very core. while paradoxically invisible, the details of each of the lamps are inescapable, the crystal bulbs simultaneously diffusing and receiving magnified light even as they diffract.

'sfera' resides in the alchemy of skilled layering. Its design is influenced by the first injection of air a glass-blower makes into a mass of molten glass, the spherical globe imprisoning and shielding within it a variation on the form of a baccarat decanter.

Switched on, the bulb dissolves inside the vessel as the contained becomes the containing, in a two-way exchange between matte and glossy finishes. as a ceiling, floor or table lamp, the shadows of 'sfera' mingle and produce a brilliantly refracted light.

The German industrial designer, Luigi Colani who has been rethinking the future since the ’40s. His vision is a rather rounded, streamlined one, and it has been applied to just about everything from kitchens and space-crafts to cars/trucks and furniture. The prime characteristic of his designs are the rounded, organic forms, which he terms "bio-dynamic" and claims are ergonomically superior to traditional designs.

There are the ones who see him as a professional critic or a design entertainer, but there are also those who almost worship him as a genius. Most people call him a designer, but he calls himself a “3-D philosopher.”

The American architect, Robert Charles Venturi, Jr. One of the major figures in the architecture of the twentieth century. Together with his wife and partner, Denise Scott Brown, he helped to shape the way that architects, planners and students experience and think about architecture and the American built environment.

Their buildings, planning, theoretical writings and teaching have contributed to the expansion of discourse. Venturi was awarded the Pritzker Prize in Architecture in 1991. He is also known for coining the maxim "Less is a bore" as antidote to Mies van der Rohe's famous modernist dictum "Less is more".

Citigroup Center (formerly Citicorp Center) by Murphy Jahn is one of the ten tallest skyscrapers in New York City

Seagram Building by the influential American architect, Philip Johnson.

After completing several houses in the idiom of Mies and Breuer, Johnson joined Mies van der Rohe as the New York associate architect for the 39-story Seagram Building (1956). Johnson was pivotal in steering the commission towards Mies, working with Phyllis Lambert, the daughter of the CEO of Seagram. This collaboration of architects and client resulted in the bronze-and-glass tower on Park Avenue.

Completing the Seagram Building with Mies also decisively marked a shift in Johnson's career. After this accomplishment, Johnson's practice grew as projects came in from the public realm, including coordinating the master plan of Lincoln Center and designing that complex's New York State Theater. Meanwhile, Johnson began to grow bored with the orthodoxies of the International Style he had championed.

The American architect, Michael Graves.

The American architect, Richard Meier, whose rationalist buildings make prominent use of the colour white.

Giovannitti House, Woodland Drive,Pittsburgh by the American architect, Richard Meier, whose rationalist buildings make prominent use of the colour white.

Meier makes use of the slight slope as well as the quiet street as he had previously done with more grandiose orientation devices such as oceans, lakes and extreme slopes. In doing so, he attempts to simplify the program and the home's placement on the site. As a result of Meier's placement of the house (at the top of the slope, with most windows and areas of activity facing away from the street, while providing entering visitors a relatively simple façade) the project ends up working like many of his more successful residential designs, which afford the home-owners privacy as well as expansive views.

The American architect, Robert Arthur Morton Stern may have been the first architect to use the term "post-modernism", but more recently he has used the phrase "modern traditionalist" to describe his work.

Mason School of Business

15 Central Park West, New York

Gerald R. Ford School of Public Policy at the University of Michigan

Centre Georges Pompidou is a high-tech architecture complex in Paris. It houses a vast public library, the largest museum for modern art in Europe, and IRCAM, a centre for music and acoustic research. It was named after the President of France, Georges Pompidou, who commissioned the building, and was officially opened in 1977 . Because of its location, the Centre is known locally as Beaubourg.

It was designed by Renzo Piano, Richard Rogers and Gianfranco Franchini. Piano and Franchini were Italian while Richard Rogers was a British architect. The truth was that a competition was held and they awarded them the accolade of architecture design competition. The Stravinsky Fountain which is nearby is featuring 16 fanciful and magical water spraying structures was designed by Niki de Saint Phalle and Jean Tinguely.

National Geographic described the reaction to the design as "love at second sight." An article in Le Figaro declared "Paris has its own monster, just like the one in Loch Ness." Many critics have abhorred it for its brutish ugliness. But two decades later, while reporting on Rogers' winning the Pritzker Prize in 2007, The New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Centre, with its exposed skeleton of brightly coloured tubes for mechanical systems. There are no clean lines here, no such sweeping elegance. Instead there seems to be a tangle of pipes, lifts, cranes revealing the services of the building on the exterior.

People who are honest to themselves and show kindness to strangers, inspire me the most. When something funny catches my eye I joke about it in a matter-of-fact way and its mostly implied humour.

When in social mood, I like sharing new ideas and listening to intelligent conversations. I deeply value friendship, loyalty and harmony.

I am approachable, curious about people as individuals and with my friends I am playful, letting myself be a little silly. I totally dig when the taken-for-granted everyday things are used to create dark and ridiculousness, evoking our authentic emotions.

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